The late twentieth century saw growing number of articles and books appearing on new national gothic; however, the wider context for this had not really been addressed. This collection of essays explores an emerging globalgothic useful for all students and academics interested in the gothic, in international literature, cinema, and cyberspace, presenting examples of globalgothic in the 21st-century forms. It analyses a global dance practice first performed in Japan, Ankoku butoh, and surveys the ways in which Indigenous cultures have been appropriated for gothic screen fictions. To do this, it looks at the New Zealand television series on Maori mythologies, Mataku. The unlocated 'vagabonds' of Michel Faber's "The Fahrenheit Twins" are doubles (twins) of a gothic trajectory as well as globalgothic figures of environmental change. The book considers the degree to which the online vampire communities reveal cultural homogenisation and the imposition of Western forms. Global culture has created a signature phantasmagoric spatial experience which is uncanny. Funny Games U.S. (2008) reproduces this process on the material level of production, distribution and reception. The difference between the supposedly 'primitive' local associated with China and a progressive global city associated with Hong Kong is brought out through an analysis of cannibal culture. In contemporary Thai horror films, the figure of horror produced is neither local nor global but simultaneously both. The book also traces the development, rise and decline of American gothic, and looks at one of the central gothic figures of the twenty-first century: the zombie.

labels foreign to
the Thai language, suggesting that what we identify as Thai horror
cinema evolved on its own, local terms. Still, there is no denying that
the increasing globalisation of the Thai economy and, in consequence,
the Thai film industry has had a strong impact on contemporary Thaihorrorfilms, affecting not only their production and distribution
methods but also their themes, their

contemporary Thaihorrorfilm’, Katarzyna Ancuta argues that the
increasing globalisation of the Thai economy has had a strong impact
upon Thaihorrorfilms, affecting not only their production and
distribution but also their themes, tropes and narrative structures. As
she demonstrates with specific reference to the phi tai hong , the
spirit of the violently dead, and Sophon Sukdapisit’s 2008 debut
feature